Tagged: fight

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2nd ABCT, 3rd ID, wins Sullivan Cup tank competition at Fort Benning

The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia.
1 / 5 Show Caption + Hide Caption – The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia. (Photo Credit: U.S. Army photo by Patrick Albright) VIEW ORIGINAL[1]
The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia.
2 / 5 Show Caption + Hide Caption – The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia. (Photo Credit: U.S. Army photo by Patrick Albright) VIEW ORIGINAL[2]
The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia.
3 / 5 Show Caption + Hide Caption – The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia. (Photo Credit: U.S. Army photo by Patrick Albright) VIEW ORIGINAL[3]
The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia.
4 / 5 Show Caption + Hide Caption – The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia. (Photo Credit: U.S. Army photo by Patrick Albright) VIEW ORIGINAL[4]
The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia.
5 / 5 Show Caption + Hide Caption – The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4, 2018 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia. (Photo Credit: U.S. Army photo Patrick Albright) VIEW ORIGINAL[5]

FORT BENNING, Ga. — The Sullivan Cup, a biennial competition to determine the best tank crew in the Army through a series of scored tests, finished May 4 with 2nd Armored Brigade Combat Team, 3rd Infantry Division from Fort Stewart, Georgia, earning the top spot at Fort Benning, Georgia.

After several days of competition, the tank crews performed one final timed event May 4.

Staggered by their points placement on the morning of the last day, the tank crews ran a 1.7-mile route to Brave Rifles Field the morning of May 4. On the field, the crewmembers performed several tank-related physical and mental tasks. Crewmembers also completed five burpees between each station, and there was a five-burpee penalty for incorrect responses and failures on tasks.

After the completion of the final competitive event, tallies were made of the scores from throughout the competition. The top finishers in the Sullivan Cup were:

– 1st place: B Company, 3rd Battalion, 67th Armored Regiment, 2nd Armored Brigade Combat Team, 3rd Infantry Division, from Fort Stewart, Georgia
– 2nd place: C Company, 1st Battalion, 16th Infantry Regiment, 1st Armored Brigade Combat Team, 1st Infantry Division from Fort Riley, Kansas
– 3rd place: 2nd Tank Battalion, 2nd Marine Division from Camp Lejeune, North Carolina

Brig. Gen. David A. Lesperance, commandant of the U.S. Army Armor School at the Maneuver Center of Excellence, spoke at the competition’s closing ceremony.

“Never in my wildest imagination would I have guessed that it would have delivered what it did for army today,” said Lesperance. “They truly have identified the best tank crew and tank crews the Army has to offer today.”

The first day of competition included a stress shoot adapted specifically for tank crews and a ranked simulated combat maneuver exercise. On the second two days, the crews conducted a live-fire exercise and a situational training exercise. The scored events were meant to represent both what tank crews trained on and what they could expect in combat.

“What do we expect of a tank crew in our army today?” Lesperance asked rhetorically during the closing ceremony. “We expect that tank crew to be able to survive, maneuver to a point of positional advantage, to get our weapons into the fight and to deliver first-round lethality and have an effect on our target and have our target destroyed.”

Staff Sgt. Johnathan Werner, tank commander, Cpl. Justin Harris, gunner, Pvt. Brandon Zacher, loader, and Pvt. Dekken Sanders, driver, the winning tank crew from 2nd ABCT, 3rd ID, had only worked together for a few months before joining the competition.

“It’s pretty intense for the past roughly three months, but we gave it our all,” said Harris.

Werner described the competition as “fierce.”

“This is stuff that we do on a day-to-day basis — tanker grade gunnery, maneuvering — this is our job,” said Werner. “But when you put everyone in one area, the best of the best you possibly in the entire world, and then you compete and you have a bunch of alpha males, it kind of speaks for itself.”

Werner echoed Lesperance’s belief in the real-life use of the training they received during the competition.

“The way they facilitated the training, just by the book, the way they did the props for the gunnery, the way they did the STX training and the stress shoot, it was a little more realistic for combat engagement,” said Werner. “We should be able to take that back to the units and implement that on a lower level, not necessarily just for competitors. But if we can do this worldwide and have the worldwide training, the way the Army can, it’s what we really need to work toward.”

Both Zacher and Sanders, who have been in the Army for less than a year, found it strange to return to Fort Benning after finishing their basic training here. Sanders described the experience as “surreal.” Zacher appreciated seeing his trainers.

“It’s been pretty great seeing some of our old drill sergeants and shaking their hands,” said Zacher. “They’ve been rooting for us, so it feels great.”

To see photos from the 2018 Sullivan Cup, visit “Photo Album” in the “Related Links” section on this page.

RELATED LINKS

References

  1. ^ View Original (www.army.mil)
  2. ^ View Original (www.army.mil)
  3. ^ View Original (www.army.mil)
  4. ^ View Original (www.army.mil)
  5. ^ View Original (www.army.mil)
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2ND BRIGADE COMBAT TEAM: Tactical fitness, countermobility training

Bright and early at 5 a.m. on a cool morning, April 18, Soldiers were called to their company. They were told to arrive promptly in uniform, with their gear fully packed, ready and set to go.

Once they arrived the Soldiers would endure a road march followed by hours of intense training out in the back 40 of Fort Campbell.

The Soldiers of 2nd Platoon, A Company, 39th Brigade Engineer Battalion, 2nd Brigade Combat Team, 101st Airborne Division, trained to improve their tactical fitness, countermobility and survivability.

Training such as this is conducted weekly to further ensure that 39th BEB’s combat engineers remain efficient in their infantry skills.

“Today we started with a four-mile ruck march with full kit and a 30-pound ruck,” said 2nd Lt. Garrett Bridenbaugh, engineer officer and platoon leader in A Co., 39th BEB, 2nd BCT. “We then proceeded out to the training site to build countermobility obstacles.  Today we focused on the triple-strand concertina wire obstacle and the 11-row obstacle, we also went through survivability positions and fox holes.”

Concertina wire is a type of razor wire that is formed into large coils that can be expanded like a concertina or accordion.

The triple-strand concertina wire obstacle, constructed by combat engineers, consists of two rolls of concertina wire side-by-side on the bottom with one roll of wire on top, like a pyramid, secured with additional wire to prevent crushing. It is designed to slow or stop personnel and small-wheeled vehicles.

The 11-row obstacle consists of 11 rows of concertina wire laid parallel to each other on the ground and are anchored with pickets. This is used to hold back and slow down incoming enemy personnel and even tanks.

“We are enablers of the infantry,” Bridenbaugh said. “We set up the defensive area for them as well as fight alongside them. The training we did today is significantly important because the platoon needs to understand their roles as well as everyone else’s role from the lowest to the highest-ranking Soldier. We also did this training to beat the standard. The engineer planning factors and tools doctrine gives us a time standard on how quickly the obstacles are to be set up, but we aim to be faster and exceed the standard. The faster we can build these obstacles, the better advantage we have for defense.”

A combat engineer is a Soldier who performs a variety of different demolition and constructional tasks while under combat conditions. Their mission is to assist other military personnel when taking on rough terrain in combat. They provide expertise in areas such as mobility, countermobility, survivability and general engineering.

As companies continue to grow in strength with personnel, for some of the newest Soldiers this was their first hands-on training experience with 39th BEB after advanced individual training.

“Today went well,” said Pvt. Tristan Cooper, combat engineer with A Co., 39th BEB, 2nd BCT. “We worked together as a team and it got done faster than I’ve ever seen it competed in [advanced individual training]. I got hands-on learning for the triple-strand, 11 row and foxholes. It was a good day.”

It is important to conduct weekly and monthly hands-on training during which Soldiers execute their skills, which increases information retention while setting the standard.

“The importance of this is to get the Sapper squad to become more efficient in constructing the obstacles and understand the standards,” said Sgt. Jose Acosta, combat engineer and squad leader, A Co., 39th BEB, 2nd BCT. “We only teach the standard, right? Therefore, we expect them to be more effective in their work.”

The Soldiers of 39th BEB learned how to construct some of the most effective countermobility defense obstacles as well as how to work as a cohesive unit.

“The more training we are able to do like this, the closer our platoon becomes,” Bridenbaugh said. “The more esprit de corps we have the more comradery we can build. The Soldiers love to come out and train. We try and get as much training out of it as we possibly can and just try to have fun while doing as much work as possible.”

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Army to Test First Next-Gen Ground Combat Vehicles in 2019

Army[1] maneuver officials on Monday said the service’s Next Generation Combat Vehicle will allow it to team manned and unmanned vehicles and create an unbeatable overmatch against enemy armored forces.

Developing the NGCV to replace the fleet of Cold-War era M1 Abrams tanks[2] and Bradley Fighting Vehicles[3] is the Army’s second modernization priority under a new strategy to reform acquisition and modernization.

The Army intends to stand up a new Futures Command this summer, which will oversee cross-functional teams that focus on each of the of the service’s six modernization priorities: long-range precision fires; next-generation combat vehicle; future vertical lift; a mobile and expeditionary network; air and missile defense capabilities; and soldier lethality.

“The Next Generation Combat Vehicle needs to be revolutionary,” Gen Robert Abrams, commander of Forces Command, told an audience at the Association of the United States Army’s Global Force Symposium.

“It’s got to be 10X better than our current fleet and guarantee our overmatch into the future.”

The Army will need such an increase in capability to deal with threats such as Russia’s T14 Armata tank and China’s efforts at improving composite armor and reactive armor combinations on its ground vehicles, said Col. Ryan Janovic, the G2 for Army Forces Command.

Brig. Gen. David Lesperance, deputy commander of the Army’s Maneuver Center of Excellence at Fort Benning[4], Georgia, and leader of the cross-functional team in the effort, said the NGCV will consist initially of three phases of prototyping and experimentation to refine the program’s requirements.

Part of the Army’s intent with its new acquisition and modernization strategy is to develop requirements in two to three years rather than the traditional five-to-seven-year process.

The program will seek to develop the robotic combat vehicle and a manned combat vehicle that can be used in an unmanned role based on the commander’s needs, Lesperance said.

There will be three phases for the “delivery of capability for experimentation” between 2018 and 2024, he said.

By late fiscal 2019, “we will deliver one manned versus two unmanned combat platforms that will initially go through [Army Test and Evaluation Command] testing, then will go through a six-to-nine month, extended experimentation in an operational unit in Forces Command,” Lesperance said.

Army officials will take the results of that effort and use it in the second phase of the program to deliver “a purpose-built robotic combat vehicle and a purpose-built manned fighting vehicle” in 2021 to ATEC and then to operational units at the beginning of second quarter of 2022, he said.

For the third phase, the Army plans to deliver seven manned and 14 unmanned prototypes in late 2023 and into early 2024 “that allow us to look, at a company level, [at] what manned-unmanned teaming could be,” Lesperance said.

“Imagine making contact with the enemy with an unmanned robot, and allowing a decision-maker to understand quicker and then make a better decision out of contact. Then move to a position of advantage to deliver decisive lethality in a way that we do not do now in 100 percent manned platforms,” he said.

“Each phase of the program in 2020, 2022 and 2024 will ultimately allow us to write the best requirement we can come up with based on experimentation, and the analytics to back it up that ultimately allow us to write the right doctrine, develop the right organizations and then deliver the right capability that will be compliant with how we are going to fight differently in the future,” Lesperance said.

— Matthew Cox can be reached at [email protected][5].

Show Full Article[6]

© Copyright 2018 Military.com. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

References

  1. ^ Army (www.military.com)
  2. ^ M1 Abrams tanks (www.military.com)
  3. ^ Bradley Fighting Vehicles (www.military.com)
  4. ^ Fort Benning (www.military.com)
  5. ^ [email protected] (www.military.com)
  6. ^ Show Full Article (www.military.com)
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Trump's transgender military ban 'worse than don't ask, don't tell,' advocates say

The Trump administration released two documents on Friday outlining the president’s ban on transgender people serving in the military[1]. While LGBTQ-rights advocates say this new measure is even more discriminatory than the now-defunct “don’t ask, don’t tell” policy, they also note that recent court rulings prevent the ban from actually taking effect.

The administration’s first document, a memo[2] signed by the president, stated that “transgender persons with a history or diagnosis of gender dysphoria — individuals who the policies state may require substantial medical treatment, including medications and surgery — are disqualified from military service except under certain limited circumstances.”

 President Donald Trump walks across the South Lawn of the White House on March 23, 2018 in Washington. Manuel Balce Ceneta / AP

The second document[3], titled “Department of Defense Report and Recommendations on Military Service by Transgender Persons,” lays out the specific policy recommendations regarding trans individuals serving U.S. military. The 46-page report stated that the department had concluded “accommodating gender transition could impair unit readiness,” “undermine unit cohesion” and “lead to disproportionate costs.”

“This new policy will enable the military to apply well-established mental and physical health standards — including those regarding the use of medical drugs — equally to all individuals who want to join and fight for the best military force the world has ever seen,” the White House said in a statement[4] released on Friday.

“CATEGORICAL BAN”

The new report states “nothing in this policy precludes service by transgender persons who do not have a history or diagnosis of gender dysphoria and are willing and able to meet all standards that apply to their biological sex.”

Shannon Minter, legal director of the National Center for Lesbian Rights (NCLR), disagreed, claiming such a policy constitutes a “categorical ban” of transgender people from the military by requiring service members to live as their sex assigned at birth.

“It means you can’t be transgender,” Minter said. “This is worse than ‘don’t ask, don’t tell’ in its justification … It would be as though the government had tried to justify the DADT policy by saying that you can serve in the military if you say you will stop being gay.”

With DADT, which was ended in 2011, “the government never went so far as to say that being lesbian or gay is not a legitimate identity and [lesbians and gays] should undertake therapy to become straight, but that is what this report is saying about transgender people,” according to Minter.

He argued the ideas in the plan “have zero medical credibility” and are “lifted whole from anti-transgender propaganda put out by right-wing groups.”

“PANEL OF EXPERTS”

A federal judge issued a court order[5] on Tuesday requiring that the Department of Justice disclose the names of the military experts the Trump administration consulted regarding its transgender military ban. On Thursday, the Justice Department filed a response[6] to the judge’s order, stating the administration chooses “not to identify” those consulted.

The Justice Department “is coming close to defying court orders,” Minter said. “They do not want to disclose what lay behind this process.”

An article published by Slate[7] on Saturday, which cited multiple unnamed sources, claimed that Trump’s “panel of experts” included several people with histories of opposing lesbian, gay, bisexual and transgender rights, including Vice President Mike Pence[8]; anti-transgender activist Ryan T. Anderson[9]; and Family Research Council President Tony Perkins[10]. NBC News has not independently verified Slate’s findings.

Friday’s report addressed the findings and recommendations of a 2016 study commissioned by the Department of Defense and conducted by the RAND Corporation, a nonprofit think tank. That report found no reason to prevent the enlistment and service of openly transgender individuals. The new report stated the Pentagon had “reached a different judgment on these issues” than RAND and the previous administration, adding that the issue is “more complicated.”

Natalie Nardecchia, senior attorney at LGBTQ civil rights organization Lambda Legal, slammed Friday’s report and said the previous administration “did a real report and did a real analysis … and then they enacted a policy.”

“That is the way it’s supposed to work, and this is the very opposite,” she said of the Trump administration’s findings.

“NO IMMEDIATE IMPACT”

Minter said the new policy is “as bad as it could be.” However, he said it has “no immediate impact,” because “federal courts have already issued orders saying the ban cannot be enforced.”

On Friday, Pentagon spokesperson Maj. David Eastburn echoed Minter’s assessment, saying the announcement of a new policy would have no immediate practical effect on the military, because the Pentagon is obliged to continue to recruit and retain transgender people in accordance with current law.

Minter said he does not expect any impact on currently enlisted soldiers or those attempting to enlist in the near future. However, because of what he called the plan’s “complete repudiation of transgender identity,” Minter said transgender troops may face additional stigma.

 Nicolas Talbott Courtesy of Nicolas Talbott

Nicolas Talbott, a 24-year-old transgender recruit from Lisbon, Ohio, said for now his enlistment process continues to advance.

“It’s going great,” he told NBC News. “I’m working with a wonderful recruiter, and at this moment we are waiting to … schedule a date for my physical exam and written test.”

Talbott said Friday’s documents were discouraging and felt like “another bump in the road,” but he said this just “reaffirms the fight is not over.”

“I am very optimistic that I’m going to get into the U.S. Air Force,” Talbott said. “There is nothing about being transgender in any way, shape or form that impacts an individual’s ability to serve.”

Nardecchia, agreed, saying “there is no medical or scientific support for presuming that transgender people are unfit.” Gender dysphoria, she added, “is a fully treatable condition that only some transgender people experience.”

“LEGALLY IRRELEVANT”

Civil rights groups, including the ACLU, Lambda Legal, GLBTQ Legal Advocates & Defenders (GLAD), NCLR and Equality California brought four different lawsuits before federal courts last year in attempts to block the transgender military ban. The courts issued preliminary injunctions, which prevent even this newly released implementation plan from taking effect.

Late last year, two different federal courts rebuffed the administration’s efforts to delay the enlistment of transgender troops, and the Justice Department declined to appeal those decisions[11]. Openly transgender troops began to enlist on January 1.

“Anything that the government comes forward with now is legally irrelevant,” Nardecchia said, adding that the burden is on the government to demonstrate a persuasive justification to stop allowing transgender troops to serve openly.

Nardecchia called Friday’s report “reverse engineering” in an attempt by the government to provide the courts with a valid justification for the ban.

“WE WILL KEEP FIGHTING”

On Tuesday, Nardecchia and other attorneys from Lambda Legal and OutServe-SLDN, which together represent nine transgender service members, will seek a permanent injunction against the ban.

“We are asking for the court to grant a summary judgment — without going to trial — and to permanently prevent the ban from going into law,” she explained.

Nardecchia said she doesn’t know when the court might hand down a decision, but she’s “optimistic.”

“We will keep fighting until we get a final judgment,” she added.

The release of the new transgender military policy, according to Minter, is good for LGBTQ advocates fighting the ban. “We now know exactly what we have to rebut in the court,” he said.

Minter is working on a separate case from Nardecchia, Doe v. Trump. The lawsuit, which was filed by NCLR and GLAD, was the first to challenge the ban.

“We are proceeding with discovery, which is all the more important now,” he said. “Where did they come up with these discredited views? What was this process? Who was involved?”

Minter expects the government — as it did in its refusal to disclose its “panel of experts” — to appeal any decision not in its favor.

“Eventually it is likely that it will reach the Supreme Court,” he said of the transgender military ban.

FOLLOW NBC OUT[12] ON TWITTER[13], FACEBOOK[14] AND INSTAGRAM[15]

References

  1. ^ ban on transgender people serving in the military (www.nbcnews.com)
  2. ^ memo (www.lambdalegal.org)
  3. ^ document (www.lambdalegal.org)
  4. ^ statement (www.whitehouse.gov)
  5. ^ court order (www.washingtonblade.com)
  6. ^ filed a response (www.washingtonblade.com)
  7. ^ published by Slate (slate.com)
  8. ^ Mike Pence (www.nbcnews.com)
  9. ^ Ryan T. Anderson (thinkprogress.org)
  10. ^ Tony Perkins (www.glaad.org)
  11. ^ declined to appeal those decisions (www.nbcnews.com)
  12. ^ NBC OUT (www.nbcnews.com)
  13. ^ TWITTER (twitter.com)
  14. ^ FACEBOOK (www.facebook.com)
  15. ^ INSTAGRAM (www.instagram.com)
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God of War Combat Team Talk Versatile Encounters & Throwable Axe

God of War Combat

While there are definite similarities to previous games in the series, God of War has substantial changes when it comes to combat. From the throwable axe to Kratos’ son, Atreus, who is valuable as both a distraction and a weapon, there’s plenty of nuance that players will have to get used to.

I had the pleasure of talking to three members of the action game’s combat team: Lead Gameplay Designer Jason McDonald, Combat Designer Kate Salsman, and Lead Systems Designer Vince Napoli. Check out my interview below to learn more about God of War‘s combat system.

Tyler Treese: With my hands-on time with the game, what really impressed me was how every encounter felt unique in that it never felt like filler content. What went into designing the combat exchanges, and making sure they never felt cookie cutter in design?

Jason McDonald, Lead Gameplay Designer: Yeah, I mean a big part of this game was trying to make sure that the enemies had nuance. That you could play the same character multiple times and have fun depending on how many respawn or where they are. So for example, like for the Draugr in a roof pass area, you’ll see some up high, which kind of emphasize the ranged abilities. You’ll see guys spawn near pits where you can knock them out the arena, you’ll see the heavy guys come in and that kind of forces your strategy to change. There are ones that have the kind of arm fire power that throw the fireballs at you, that’ll change everything up. So, what we try to do is just make sure that encounter to encounter we do something that kind of puts an emphasis on a different set of Kratos’ abilities so you can have that variety you’re talking about.

You talked about the range of abilities, which is certainly something the series has had in the past, but it feels like there’s more of a focus on it here and there’s more dimensions to the range of attacks like the axe. Can you discuss designing those and what it took to come up with that the axe?

Jason McDonald: Throwable axe, you say? Well, this is the guy that came up with idea and kind of iterated upon.

Vince Napoli, Lead Systems Designer: I mean we knew that we wanted a closer camera, so we knew that was going to kind of really change everything. We went how do we integrate sort of that camera feel into the gameplay and sort of how do we modernize action games and kind of combine a little bit of shooter elements? I think right from the get go it was like, “Okay, we want ranged and melee to kind of be hand in hand,” and that’s when we started having the ability to just kind like recall [the axe]. The fact that you can trip enemies and then bring it back and hit them on the way back, or if enemies have shields you can hit them from behind. Combining that with the punching, we basically sort of found our niche where it’s basically a ranged melee game, which is usually really tough to do.

God of War Combat

I felt like there was a lot of freedom in combat because even a mistake can be advantageous. Since you can recall the axe. Were all the mechanics designed with that in mind of letting the player have that sort of freedom?

Vince Napoli: Yeah. I mean that’s why we wanted to really emphasize the ability to throw the axe and leave it. Basically be able to, not only impale enemies but leave it stuck in the world. You can line up enemies and kind of recall it through all of them. Even objects or breakables that you can hit with it. That was the idea. If we can make the axe fully sandbox playable then the amount of stuff that you kind of come up with. I mean, early on [director] Cory [Barlog] kind of fell in love with the recalling through enemies, and once we knew that was in there we’re like, “OK, well this has to stay and we have to even create like the witch and other characters to kind of deal with it in really clever ways too.”

Jason McDonald: And that close camera perspective helps us too because the fact that you can’t see enemies behind you and there’s that nuance to it. Wherever you’re evading, wherever you’re moving around and you end up in different places and environment almost every single time you play. So, even if you’re playing the same counter over and over, it usually doesn’t act in the same way because the way of the enemy’s moving. Where you move changes all of your opportunities, whether they’re going to take a pit or a wall or anything else like range or your melee. It keeps changing enough which feels good,

The series is definitely known for its boss encounters. We’re still seeing that huge scale and size here, but it’s very different due to the perspective change. How difficult was it implementing such dangerous enemies while still staying true to the new style of combat?

Jason McDonald: Yeah, it was a challenge. Like this game is definitely a fresh start for us to kind of just start from the beginning and go “OK, you know, with Cory’s new narrative and new kind of overall direction of the game, like what can we do to just make everything feel different and make everything still retain the same God of War feel before but from this new perspective?” So because of that, it’s like a tuning how large an enemy could even be before it gets too annoying to look up at him, or how many enemies can attack you from all directions, or what you should be targeting. We’ve made significant effort to kind of apply that to every new design.

God of War Combat

Cory stated that it took awhile for the combat to really come together, and really feel satisfying. Can you talk about the challenges of development and how far it’s come?

Jason McDonald: Well, he’s wrong. Like it was perfect [whole team laughs] right down to everything. Yeah. I mean I think the first thing was just trying to figure out what was going to be the details of this game. You know, we knew that we’re going to try to bring the camera close. We did that right away and the first instinct was well we shouldn’t do this, you know, because we had the same old behavior pattern that we have for the enemies and things like that. So we were playing with that, with that close camera perspective and just seeing that OK this isn’t really working too well, maybe we should just go back to what we did before and we actually started doing that, like three iterations of like little internal play tests. We would start bringing the camera back and start changing things and then then it got so far back that were like, OK, now this is looking exactly like the older games.

So, what can we do now? So what we did is we actually brought [the camera] way in and we brought it in closer than we even started to try to not do this hybrid thing, which is kind of far. We just went in close and we got a lot of people to play it and try to see like, “OK, from this perspective, like what do you think?” And like he was saying, once we added the axe throw capability that really worked really well for that perspective. It allowed Kratos to handle enemies at distance and close ranges like he used to do in the past. It just started to take off from there once we started just actually battling the problem of, “OK, what do you need to do?” That’s when all this stuff started to become more important because now that you’re right down in there, you can kind of really get the depth perception of those. I would just do this is right next to the wall and take advantage of that, and all that decision making started to take off.

Vince Napoli: It also turned the corner to you when the son became [a part of gameplay]. I don’t know how much you use him in combat, but he’s actually like a massive tool that you have. He’s got a lot of abilities and a lot of behaviors that aren’t really accustomed to a lot of the enemies. Once we realized that with this limited camera perspective, having another character that can draw agro, protect you, call things out, or on command interrupted people and stun them was huge. So like once that tool came online, all of a sudden the cameras and stuff didn’t really become a hindrance. It became part of the gameplay of using him correctly. Like how well can you manipulate him just as well as your own character? I think that was like a big step.

God of War Combat

Atreus is definitely helpful dealing with the witch, which was one of the more difficult encounters I had. Tell me a bit about designing that fight because it’s such a different encounter compared to what you face early on?

Kate Salsman, Combat Designer: Well, we tried to design her as more of an enforcer character who enforces a certain mechanic in the game. And so up to that point you’re mostly spent fighting Draugr s and you’re using your light and heavy attacks and axes, but to actually encounter an enemy where, “OK, that doesn’t work now, now I have to use another mechanic to fight her.” It’s kind of interesting and trains you to start considering other strategies and combat.

So, we had a lot of iteration time early on because initially we were like, “OK, she dodges most of the time but not all the time.” And that could be confusing. So, we ended up going more towards the route of “OK, she’s an on/off type, a tight mechanic where unless you use the son to break her armor with his command arrows, then you just can’t hit her. So that becomes really interesting once you start seeing her with the Draugr in the other fight because it just forces you to change up your strategy.

Can you talk about the design because it kind of teaches the player without going into an in your face tutorial because you’re organically teaching that player to use that mechanic. How important that is to the overall game design?

Kate Salsman: I will say that, she’s kind of the first creature that teaches you, “Okay, I really do need to use the son arrows.” I mean before, he’s helpful in distracting enemies, but with her it kind of teaches you, “OK, this mechanic really is important,” and I will say that. We can only speak about what’s [in the demo] at this time, but using the son is important.

Jason McDonald: Right at the beginning of the game we do kind of throw lots of tutorials at you because we want to make sure that you understand how this new God of War plays. So throughout the game we try to do things like that revenant where you know, naturally the son becomes more important, sometimes more of a forced importance and it kind of reminds you that he’s there. What we find is when people play the game and they fight her, it’s like if they maybe stopped using Atreus for awhile, they remember it right when you fight her and then after that they’re using it. And again it kind of creates this pacing where sometimes you might just be enjoying what he’s doing in the background and not really engaging with them as much, but then once you encounter characters like that, you start engaging with them and more, and then you start naturally engaging even more after that.

God of War is such a popular franchise and it has a very passionate fan base. And since you’re rocking the boat a lot with this sequel, some of the fans have been displeased. Do you feel like once they get their hands on it, they’ll feel that like there is still that God of War DNA in it and that the combat feels familiar? Because I definitely felt that when I was playing that like there were moments where it was like, “Oh yeah, this is totally God of War.” Like there’s a new wrapping and I think it plays better than past games but a sense of familiarity is definitely there.

Jason McDonald: That’s fantastic, and that’s exactly what I expect everybody to feel now. When you see the trailers and you see the kind of perspective, it’s understandable that you would look at that and go “Well no other games look like that. So how is this game going and be like, what is this game?” So I think that through four plus years of effort, we’ve been trying to make sure that with this new storytelling, with this new narrative, new mythology, like everything that’s new in this game, that it still has that God of War DNA. As the game continues, you’ll just see more and more of that.

Were there any other action games that had an influence on the design, and figuring out the new camera?

Jason McDonald: I don’t think so. The main thing that drew us to make decisions in this game, was just really getting to this new direction that Cory was bringing to the series. Like you really wanted to get up close and personal and you really wanted to get close to Atreus. So like he wanted all of these things in order to do that. Like I was saying, when we started playing with the camera distances and having a far back and close and whatever, and then we just ended up kind of gravitating to decisions that just helped with the core design philosophy of just like right up there, up and close brutality. Atreus right nearby at all times and always going with that.


We’d like to give a major thank you to Jason, Vince, Kate and the team at Santa Monica Studio for letting us see God of War early. For even more coverage, check out our hands-on preview[1] of the opening hours, and read our interview with director Cory Barlog[2].

Disclosure: Travel and accommodation was provided by Sony for the trip.

References

  1. ^ hands-on preview (www.playstationlifestyle.net)
  2. ^ our interview with director Cory Barlog (www.playstationlifestyle.net)
0

God of War Combat Team Talk Versatile Encounters & Throwable Axe

God of War Combat

While there are definite similarities to previous games in the series, God of War has substantial changes when it comes to combat. From the throwable axe to Kratos’ son, Atreus, who is valuable as both a distraction and a weapon, there’s plenty of nuance that players will have to get used to.

I had the pleasure of talking to three members of the action game’s combat team: Lead Gameplay Designer Jason McDonald, Combat Designer Kate Salsman, and Lead Systems Designer Vince Napoli. Check out my interview below to learn more about God of War‘s combat system.

Tyler Treese: With my hands-on time with the game, what really impressed me was how every encounter felt unique in that it never felt like filler content. What went into designing the combat exchanges, and making sure they never felt cookie cutter in design?

Jason McDonald, Lead Gameplay Designer: Yeah, I mean a big part of this game was trying to make sure that the enemies had nuance. That you could play the same character multiple times and have fun depending on how many respawn or where they are. So for example, like for the Draugr in a roof pass area, you’ll see some up high, which kind of emphasize the ranged abilities. You’ll see guys spawn near pits where you can knock them out the arena, you’ll see the heavy guys come in and that kind of forces your strategy to change. There are ones that have the kind of arm fire power that throw the fireballs at you, that’ll change everything up. So, what we try to do is just make sure that encounter to encounter we do something that kind of puts an emphasis on a different set of Kratos’ abilities so you can have that variety you’re talking about.

You talked about the range of abilities, which is certainly something the series has had in the past, but it feels like there’s more of a focus on it here and there’s more dimensions to the range of attacks like the axe. Can you discuss designing those and what it took to come up with that the axe?

Jason McDonald: Throwable axe, you say? Well, this is the guy that came up with idea and kind of iterated upon.

Vince Napoli, Lead Systems Designer: I mean we knew that we wanted a closer camera, so we knew that was going to kind of really change everything. We went how do we integrate sort of that camera feel into the gameplay and sort of how do we modernize action games and kind of combine a little bit of shooter elements? I think right from the get go it was like, “Okay, we want ranged and melee to kind of be hand in hand,” and that’s when we started having the ability to just kind like recall [the axe]. The fact that you can trip enemies and then bring it back and hit them on the way back, or if enemies have shields you can hit them from behind. Combining that with the punching, we basically sort of found our niche where it’s basically a ranged melee game, which is usually really tough to do.

God of War Combat

I felt like there was a lot of freedom in combat because even a mistake can be advantageous. Since you can recall the axe. Were all the mechanics designed with that in mind of letting the player have that sort of freedom?

Vince Napoli: Yeah. I mean that’s why we wanted to really emphasize the ability to throw the axe and leave it. Basically be able to, not only impale enemies but leave it stuck in the world. You can line up enemies and kind of recall it through all of them. Even objects or breakables that you can hit with it. That was the idea. If we can make the axe fully sandbox playable then the amount of stuff that you kind of come up with. I mean, early on [director] Cory [Barlog] kind of fell in love with the recalling through enemies, and once we knew that was in there we’re like, “OK, well this has to stay and we have to even create like the witch and other characters to kind of deal with it in really clever ways too.”

Jason McDonald: And that close camera perspective helps us too because the fact that you can’t see enemies behind you and there’s that nuance to it. Wherever you’re evading, wherever you’re moving around and you end up in different places and environment almost every single time you play. So, even if you’re playing the same counter over and over, it usually doesn’t act in the same way because the way of the enemy’s moving. Where you move changes all of your opportunities, whether they’re going to take a pit or a wall or anything else like range or your melee. It keeps changing enough which feels good,

The series is definitely known for its boss encounters. We’re still seeing that huge scale and size here, but it’s very different due to the perspective change. How difficult was it implementing such dangerous enemies while still staying true to the new style of combat?

Jason McDonald: Yeah, it was a challenge. Like this game is definitely a fresh start for us to kind of just start from the beginning and go “OK, you know, with Cory’s new narrative and new kind of overall direction of the game, like what can we do to just make everything feel different and make everything still retain the same God of War feel before but from this new perspective?” So because of that, it’s like a tuning how large an enenmy could even be before it gets too annoying to look up at him, or how many enemies can attack you from all directions, or what you should be targeting. We’ve made significant effort to kind of apply that to every new design.

God of War Combat

Cory stated that it took awhile for the combat to really come together, and really feel satisfying. Can you talk about the challenges of development and how far it’s come?

Jason McDonald: Well, he’s wrong. Like it was perfect [whole team laughs] right down to everything. Yeah. I mean I think the first thing was just trying to figure out what was going to be the details of this game. You know, we knew that we’re going to try to bring the camera close. We did that right away and the first instinct was well we shouldn’t do this, you know, because we had the same old behavior pattern that we have for the enemies and things like that. So we were playing with that, with that close camera perspective and just seeing that OK this isn’t really working too well, maybe we should just go back to what we did before and we actually started doing that, like three iterations of like little internal play tests. We would start bringing the camera back and start changing things and then then it got so far back that were like, OK, now this is looking exactly like the older games.

So, what can we do now? So what we did is we actually brought [the camera] way in and we brought it in closer than we even started to try to not do this hybrid thing, which is kind of far. We just went in close and we got a lot of people to play it and try to see like, “OK, from this perspective, like what do you think?” And like he was saying, once we added the axe throw capability that really worked really well for that perspective. It allowed Kratos to handle enemies at distance and close ranges like he used to do in the past. It just started to take off from there once we started just actually battling the problem of, “OK, what do you need to do?” That’s when all this stuff started to become more important because now that you’re right down in there, you can kind of really get the depth perception of those. I would just do this is right next to the wall and take advantage of that, and all that decision making started to take off.

Vince Napoli: It also turned the corner to you when the son became [a part of gameplay]. I don’t know how much you use him in combat, but he’s actually like a massive tool that you have. He’s got a lot of abilities and a lot of behaviors that aren’t really accustomed to a lot of the enemies. Once we realized that with this limited camera perspective, having another character that can draw agro, protect you, call things out, or on command interrupted people and stun them was huge. So like once that tool came online, all of a sudden the cameras and stuff didn’t really become a hindrance. It became part of the gameplay of using him correctly. Like how well can you manipulate him just as well as your own character? I think that was like a big step.

God of War Combat

Atreus is definitely helpful dealing with the witch, which was one of the more difficult encounters I had. Tell me a bit about designing that fight because it’s such a different encounter compared to what you face early on?

Kate Salsman, Combat Designer: Well, we tried to design her as more of an enforcer character who enforces a certain mechanic in the game. And so up to that point you’re mostly spent fighting Draugr s and you’re using your light and heavy attacks and axes, but to actually encounter an enemy where, “OK, that doesn’t work now, now I have to use another mechanic to fight her.” It’s kind of interesting and trains you to start considering other strategies and combat.

So, we had a lot of iteration time early on because initially we were like, “OK, she dodges most of the time but not all the time.” And that could be confusing. So, we ended up going more towards the route of “OK, she’s an on/off type, a tight mechanic where unless you use the son to break her armor with his command arrows, then you just can’t hit her. So that becomes really interesting once you start seeing her with the Draugr in the other fight because it just forces you to change up your strategy.

Can you talk about the design because it kind of teaches the player without going into an in your face tutorial because you’re organically teaching that player to use that mechanic. How important that is to the overall game design?

Kate Salsman: I will say that, she’s kind of the first creature that teaches you, “Okay, I really do need to use the son arrows.” I mean before, he’s helpful in distracting enemies, but with her it kind of teaches you, “OK, this mechanic really is important,” and I will say that. We can only speak about what’s [in the demo] at this time, but using the son is important.

Jason McDonald: Right at the beginning of the game we do kind of throw lots of tutorials at you because we want to make sure that you understand how this new God of War plays. So throughout the game we try to do things like that revenant where you know, naturally the son becomes more important, sometimes more of a forced importance and it kind of reminds you that he’s there. What we find is when people play the game and they fight her, it’s like if they maybe stopped using Atreus for awhile, they remember it right when you fight her and then after that they’re using it. And again it kind of creates this pacing where sometimes you might just be enjoying what he’s doing in the background and not really engaging with them as much, but then once you encounter characters like that, you start engaging with them and more, and then you start naturally engaging even more after that.

God of War is such a popular franchise and it has a very passionate fan base. And since you’re rocking the boat a lot with this sequel, some of the fans have been displeased. Do you feel like once they get their hands on it, they’ll feel that like there is still that God of War DNA in it and that the combat feels familiar? Because I definitely felt that when I was playing that like there were moments where it was like, “Oh yeah, this is totally God of War.” Like there’s a new wrapping and I think it plays better than past games but a sense of familiarity is definitely there.

Jason McDonald: That’s fantastic, and that’s exactly what I expect everybody to feel now. When you see the trailers and you see the kind of perspective, it’s understandable that you would look at that and go “Well no other games look like that. So how is this game going and be like, what is this game?” So I think that through four plus years of effort, we’ve been trying to make sure that with this new storytelling, with this new narrative, new mythology, like everything that’s new in this game, that it still has that God of War DNA. As the game continues, you’ll just see more and more of that.

Were there any other action games that had an influence on the design, and figuring out the new camera?

Jason McDonald: I don’t think so. The main thing that drew us to make decisions in this game, was just really getting to this new direction that Cory was bringing to the series. Like you really wanted to get up close and personal and you really wanted to get close to Atreus. So like he wanted all of these things in order to do that. Like I was saying, when we started playing with the camera distances and having a far back and close and whatever, and then we just ended up kind of gravitating to decisions that just helped with the core design philosophy of just like right up there, up and close brutality. Atreus right nearby at all times and always going with that.


We’d like to give a major thank you to Jason, Vince, Kate and the team at Santa Monica Studio for letting us see God of War early. For even more coverage, check out our hands-on preview[1] of the opening hours, and read our interview with director Cory Barlog[2].

Disclosure: Travel and accommodation was provided by Sony for the trip.

References

  1. ^ hands-on preview (www.playstationlifestyle.net)
  2. ^ our interview with director Cory Barlog (www.playstationlifestyle.net)
0

God of War Combat Team Talk Versatile Encounters & Throwable Axe

God of War Combat

While there are definite similarities to previous games in the series, God of War has substantial changes when it comes to combat. From the throwable axe to Kratos’ son, Atreus, who is valuable as both a distraction and a weapon, there’s plenty of nuance that players will have to get used to.

I had the pleasure of talking to three members of the action game’s combat team: Lead Gameplay Designer Jason McDonald, Combat Designer Kate Salsman, and Lead Systems Designer Vince Napoli. Check out my interview below to learn more about God of War‘s combat system.

Tyler Treese: With my hands-on time with the game, what really impressed me was how every encounter felt unique in that it never felt like filler content. What went into designing the combat exchanges, and making sure they never felt cookie cutter in design?

Jason McDonald, Lead Gameplay Designer: Yeah, I mean a big part of this game was trying to make sure that the enemies had nuance. That you could play the same character multiple times and have fun depending on how many respawn or where they are. So for example, like for the Draugr in a roof pass area, you’ll see some up high, which kind of emphasize the ranged abilities. You’ll see guys spawn near pits where you can knock them out the arena, you’ll see the heavy guys come in and that kind of forces your strategy to change. There are ones that have the kind of arm fire power that throw the fireballs at you, that’ll change everything up. So, what we try to do is just make sure that encounter to encounter we do something that kind of puts an emphasis on a different set of Kratos’ abilities so you can have that variety you’re talking about.

You talked about the range of abilities, which is certainly something the series has had in the past, but it feels like there’s more of a focus on it here and there’s more dimensions to the range of attacks like the axe. Can you discuss designing those and what it took to come up with that the axe?

Jason McDonald: Throwable axe, you say? Well, this is the guy that came up with idea and kind of iterated upon.

Vince Napoli, Lead Systems Designer: I mean we knew that we wanted a closer camera, so we knew that was going to kind of really change everything. We went how do we integrate sort of that camera feel into the gameplay and sort of how do we modernize action games and kind of combine a little bit of shooter elements? I think right from the get go it was like, “Okay, we want ranged and melee to kind of be hand in hand,” and that’s when we started having the ability to just kind like recall [the axe]. The fact that you can trip enemies and then bring it back and hit them on the way back, or if enemies have shields you can hit them from behind. Combining that with the punching, we basically sort of found our niche where it’s basically a ranged melee game, which is usually really tough to do.

God of War Combat

I felt like there was a lot of freedom in combat because even a mistake can be advantageous. Since you can recall the axe. Were all the mechanics designed with that in mind of letting the player have that sort of freedom?

Vince Napoli: Yeah. I mean that’s why we wanted to really emphasize the ability to throw the axe and leave it. Basically be able to, not only impale enemies but leave it stuck in the world. You can line up enemies and kind of recall it through all of them. Even objects or breakables that you can hit with it. That was the idea. If we can make the axe fully sandbox playable then the amount of stuff that you kind of come up with. I mean, early on [director] Cory [Barlog] kind of fell in love with the recalling through enemies, and once we knew that was in there we’re like, “OK, well this has to stay and we have to even create like the witch and other characters to kind of deal with it in really clever ways too.”

Jason McDonald: And that close camera perspective helps us too because the fact that you can’t see enemies behind you and there’s that nuance to it. Wherever you’re evading, wherever you’re moving around and you end up in different places and environment almost every single time you play. So, even if you’re playing the same counter over and over, it usually doesn’t act in the same way because the way of the enemy’s moving. Where you move changes all of your opportunities, whether they’re going to take a pit or a wall or anything else like range or your melee. It keeps changing enough which feels good,

The series is definitely known for its boss encounters. We’re still seeing that huge scale and size here, but it’s very different due to the perspective change. How difficult was it implementing such dangerous enemies while still staying true to the new style of combat?

Jason McDonald: Yeah, it was a challenge. Like this game is definitely a fresh start for us to kind of just start from the beginning and go “OK, you know, with Cory’s new narrative and new kind of overall direction of the game, like what can we do to just make everything feel different and make everything still retain the same God of War feel before but from this new perspective?” So because of that, it’s like a tuning how large an enemy could even be before it gets too annoying to look up at him, or how many enemies can attack you from all directions, or what you should be targeting. We’ve made significant effort to kind of apply that to every new design.

God of War Combat

Cory stated that it took awhile for the combat to really come together, and really feel satisfying. Can you talk about the challenges of development and how far it’s come?

Jason McDonald: Well, he’s wrong. Like it was perfect [whole team laughs] right down to everything. Yeah. I mean I think the first thing was just trying to figure out what was going to be the details of this game. You know, we knew that we’re going to try to bring the camera close. We did that right away and the first instinct was well we shouldn’t do this, you know, because we had the same old behavior pattern that we have for the enemies and things like that. So we were playing with that, with that close camera perspective and just seeing that OK this isn’t really working too well, maybe we should just go back to what we did before and we actually started doing that, like three iterations of like little internal play tests. We would start bringing the camera back and start changing things and then then it got so far back that were like, OK, now this is looking exactly like the older games.

So, what can we do now? So what we did is we actually brought [the camera] way in and we brought it in closer than we even started to try to not do this hybrid thing, which is kind of far. We just went in close and we got a lot of people to play it and try to see like, “OK, from this perspective, like what do you think?” And like he was saying, once we added the axe throw capability that really worked really well for that perspective. It allowed Kratos to handle enemies at distance and close ranges like he used to do in the past. It just started to take off from there once we started just actually battling the problem of, “OK, what do you need to do?” That’s when all this stuff started to become more important because now that you’re right down in there, you can kind of really get the depth perception of those. I would just do this is right next to the wall and take advantage of that, and all that decision making started to take off.

Vince Napoli: It also turned the corner to you when the son became [a part of gameplay]. I don’t know how much you use him in combat, but he’s actually like a massive tool that you have. He’s got a lot of abilities and a lot of behaviors that aren’t really accustomed to a lot of the enemies. Once we realized that with this limited camera perspective, having another character that can draw agro, protect you, call things out, or on command interrupted people and stun them was huge. So like once that tool came online, all of a sudden the cameras and stuff didn’t really become a hindrance. It became part of the gameplay of using him correctly. Like how well can you manipulate him just as well as your own character? I think that was like a big step.

God of War Combat

Atreus is definitely helpful dealing with the witch, which was one of the more difficult encounters I had. Tell me a bit about designing that fight because it’s such a different encounter compared to what you face early on?

Kate Salsman, Combat Designer: Well, we tried to design her as more of an enforcer character who enforces a certain mechanic in the game. And so up to that point you’re mostly spent fighting Draugr s and you’re using your light and heavy attacks and axes, but to actually encounter an enemy where, “OK, that doesn’t work now, now I have to use another mechanic to fight her.” It’s kind of interesting and trains you to start considering other strategies and combat.

So, we had a lot of iteration time early on because initially we were like, “OK, she dodges most of the time but not all the time.” And that could be confusing. So, we ended up going more towards the route of “OK, she’s an on/off type, a tight mechanic where unless you use the son to break her armor with his command arrows, then you just can’t hit her. So that becomes really interesting once you start seeing her with the Draugr in the other fight because it just forces you to change up your strategy.

Can you talk about the design because it kind of teaches the player without going into an in your face tutorial because you’re organically teaching that player to use that mechanic. How important that is to the overall game design?

Kate Salsman: I will say that, she’s kind of the first creature that teaches you, “Okay, I really do need to use the son arrows.” I mean before, he’s helpful in distracting enemies, but with her it kind of teaches you, “OK, this mechanic really is important,” and I will say that. We can only speak about what’s [in the demo] at this time, but using the son is important.

Jason McDonald: Right at the beginning of the game we do kind of throw lots of tutorials at you because we want to make sure that you understand how this new God of War plays. So throughout the game we try to do things like that revenant where you know, naturally the son becomes more important, sometimes more of a forced importance and it kind of reminds you that he’s there. What we find is when people play the game and they fight her, it’s like if they maybe stopped using Atreus for awhile, they remember it right when you fight her and then after that they’re using it. And again it kind of creates this pacing where sometimes you might just be enjoying what he’s doing in the background and not really engaging with them as much, but then once you encounter characters like that, you start engaging with them and more, and then you start naturally engaging even more after that.

God of War is such a popular franchise and it has a very passionate fan base. And since you’re rocking the boat a lot with this sequel, some of the fans have been displeased. Do you feel like once they get their hands on it, they’ll feel that like there is still that God of War DNA in it and that the combat feels familiar? Because I definitely felt that when I was playing that like there were moments where it was like, “Oh yeah, this is totally God of War.” Like there’s a new wrapping and I think it plays better than past games but a sense of familiarity is definitely there.

Jason McDonald: That’s fantastic, and that’s exactly what I expect everybody to feel now. When you see the trailers and you see the kind of perspective, it’s understandable that you would look at that and go “Well no other games look like that. So how is this game going and be like, what is this game?” So I think that through four plus years of effort, we’ve been trying to make sure that with this new storytelling, with this new narrative, new mythology, like everything that’s new in this game, that it still has that God of War DNA. As the game continues, you’ll just see more and more of that.

Were there any other action games that had an influence on the design, and figuring out the new camera?

Jason McDonald: I don’t think so. The main thing that drew us to make decisions in this game, was just really getting to this new direction that Cory was bringing to the series. Like you really wanted to get up close and personal and you really wanted to get close to Atreus. So like he wanted all of these things in order to do that. Like I was saying, when we started playing with the camera distances and having a far back and close and whatever, and then we just ended up kind of gravitating to decisions that just helped with the core design philosophy of just like right up there, up and close brutality. Atreus right nearby at all times and always going with that.


We’d like to give a major thank you to Jason, Vince, Kate and the team at Santa Monica Studio for letting us see God of War early. For even more coverage, check out our hands-on preview[1] of the opening hours, and read our interview with director Cory Barlog[2].

Disclosure: Travel and accommodation was provided by Sony for the trip.

References

  1. ^ hands-on preview (www.playstationlifestyle.net)
  2. ^ our interview with director Cory Barlog (www.playstationlifestyle.net)
0

1ST BRIGADE COMBAT TEAM: 1-32nd CAV demonstrates lethality at gunnery training

Bandits from 1st Squadron, 32nd Cavalry Regiment, 1st Brigade Combat Team, 101st Airborne Division, recently conducted crew gunnery training to confirm mastery of motorized crew fundamentals and maximize lethality.

The two-week gunnery training that ended Friday qualified 49 crews on their assigned machine guns; MK19 grenade launchers; and tube-launched, optically tracked, wire-guided missiles, building crew confidence in the process.

Captain Daniel T. Little, commander, A Troop 1-32nd Cav. Regt., said Bandit troopers need to be proficient in crew tasks and weapons systems so they are able to conduct continuous reconnaissance and surveillance operations in any environment.

“This gunnery exercise tested the Bandits in a variety of harsh weather conditions including periods of daylight and darkness which increased the overall complexity. Crews were forced to transition rapidly between optics and lasers in order to identify and engage multiple targets within the time limit.  Our crews executed their tasks expertly,” Little said.

Specialist Luis Abad, an A Troop gunner, said his favorite part of gunnery was “waking up in the cold” because it built up his character as an individual and Soldier. Not only did gunnery build the grit and resilience of Bandit troopers, but it also reinforced the “deploy and fight now mentality” that is first on the 1st BCT commander’s list of expectations for the Bastogne brigade.

“Anything can happen in combat and gunnery allowed [my] whole crew to move and execute using live rounds, giving everyone a good grasp of what their job is within the truck,” said Spc. Joseph Levato, a B Troop MK19 gunner.

The Bandits recognized the importance of growing as teammates within their crews during gunnery in order to maximize their performance and lethality.

“[Gunnery] helped me develop by giving me a hands on situation for engaging targets while working as a [mounted] team [member], unlike regular ranges that usually focus on individual performance,” said Pfc. Louis Dekany, an A Troop gunner. “It develops everyone’s roles within the team.”

The teamwork of the crews led them to succeed in the competition for the coveted title of “Top Gun,” awarded to the highest-performing crew for each weapon system at gunnery.

Winning crews included Sgt. David Kelly, Spc. Brando Cervantes, and Pvt. James Osburn for the TOW system; Sgt. 1st Class Eric Harder, Sgt. Ayrton Leiser, and Pvt. Brandon Beecher for the MK19; Sgt. Seth Jarrell, Spc. Jonathan Passman, and Pfc. Nickalas Woody for machine gun; and Lt. Col. Adisa King, Spc. Zackery Khan, and Spc. Austin Heiser for the Commander’s Cup on the mine-resistant ambush-protected, all-terrain vehicle. The competition sparked crews to work harder and outperform each other.

Staff Sergeant Anthony Renza, a senior scout in B Troop, said his favorite part of gunnery was “being in the running for Top Gun and seeing [his] crew come alive with motivation and drive to succeed.”

Notably, D Troop successfully qualified nine crews, which is the highest number of qualified crews in any forward support company in Bastogne. D Troop now holds the only qualified crew of food service specialists. This shows the unit’s focus on ensuring every trooper is trained and ready for combat, no matter their military occupational specialty.

The troopers of 1st Squadron developed their fundamental motorized crew skills, contributed to 1-32nd CAV’s readiness, and displayed their proficiency and lethality during gunnery training. The Bandits will continue to train to ensure they have the most lethal crews in the brigade and are ready to fight and conduct reconnaissance whenever called, in any conditions.

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1ST BRIGADE COMBAT TEAM: 1-32nd CAV demonstrates lethality …

Bandits from 1st Squadron, 32nd Cavalry Regiment, 1st Brigade Combat Team, 101st Airborne Division, recently conducted crew gunnery training to confirm mastery of motorized crew fundamentals and maximize lethality.

The two-week gunnery training that ended Friday qualified 49 crews on their assigned machine guns; MK19 grenade launchers; and tube-launched, optically tracked, wire-guided missiles, building crew confidence in the process.

Captain Daniel T. Little, commander, A Troop 1-32nd Cav. Regt., said Bandit troopers need to be proficient in crew tasks and weapons systems so they are able to conduct continuous reconnaissance and surveillance operations in any environment.

“This gunnery exercise tested the Bandits in a variety of harsh weather conditions including periods of daylight and darkness which increased the overall complexity. Crews were forced to transition rapidly between optics and lasers in order to identify and engage multiple targets within the time limit.  Our crews executed their tasks expertly,” Little said.

Specialist Luis Abad, an A Troop gunner, said his favorite part of gunnery was “waking up in the cold” because it built up his character as an individual and Soldier. Not only did gunnery build the grit and resilience of Bandit troopers, but it also reinforced the “deploy and fight now mentality” that is first on the 1st BCT commander’s list of expectations for the Bastogne brigade.

“Anything can happen in combat and gunnery allowed [my] whole crew to move and execute using live rounds, giving everyone a good grasp of what their job is within the truck,” said Spc. Joseph Levato, a B Troop MK19 gunner.

The Bandits recognized the importance of growing as teammates within their crews during gunnery in order to maximize their performance and lethality.

“[Gunnery] helped me develop by giving me a hands on situation for engaging targets while working as a [mounted] team [member], unlike regular ranges that usually focus on individual performance,” said Pfc. Louis Dekany, an A Troop gunner. “It develops everyone’s roles within the team.”

The teamwork of the crews led them to succeed in the competition for the coveted title of “Top Gun,” awarded to the highest-performing crew for each weapon system at gunnery.

Winning crews included Sgt. David Kelly, Spc. Brando Cervantes, and Pvt. James Osburn for the TOW system; Sgt. 1st Class Eric Harder, Sgt. Ayrton Leiser, and Pvt. Brandon Beecher for the MK19; Sgt. Seth Jarrell, Spc. Jonathan Passman, and Pfc. Nickalas Woody for machine gun; and Lt. Col. Adisa King, Spc. Zackery Khan, and Spc. Austin Heiser for the Commander’s Cup on the mine-resistant ambush-protected, all-terrain vehicle. The competition sparked crews to work harder and outperform each other.

Staff Sergeant Anthony Renza, a senior scout in B Troop, said his favorite part of gunnery was “being in the running for Top Gun and seeing [his] crew come alive with motivation and drive to succeed.”

Notably, D Troop successfully qualified nine crews, which is the highest number of qualified crews in any forward support company in Bastogne. D Troop now holds the only qualified crew of food service specialists. This shows the unit’s focus on ensuring every trooper is trained and ready for combat, no matter their military occupational specialty.

The troopers of 1st Squadron developed their fundamental motorized crew skills, contributed to 1-32nd CAV’s readiness, and displayed their proficiency and lethality during gunnery training. The Bandits will continue to train to ensure they have the most lethal crews in the brigade and are ready to fight and conduct reconnaissance whenever called, in any conditions.

0

1ST BRIGADE COMBAT TEAM: 1-32nd CAV demonstrates lethality …

Bandits from 1st Squadron, 32nd Cavalry Regiment, 1st Brigade Combat Team, 101st Airborne Division, recently conducted crew gunnery training to confirm mastery of motorized crew fundamentals and maximize lethality.

The two-week gunnery training that ended Friday qualified 49 crews on their assigned machine guns; MK19 grenade launchers; and tube-launched, optically tracked, wire-guided missiles, building crew confidence in the process.

Captain Daniel T. Little, commander, A Troop 1-32nd Cav. Regt., said Bandit troopers need to be proficient in crew tasks and weapons systems so they are able to conduct continuous reconnaissance and surveillance operations in any environment.

“This gunnery exercise tested the Bandits in a variety of harsh weather conditions including periods of daylight and darkness which increased the overall complexity. Crews were forced to transition rapidly between optics and lasers in order to identify and engage multiple targets within the time limit.  Our crews executed their tasks expertly,” Little said.

Specialist Luis Abad, an A Troop gunner, said his favorite part of gunnery was “waking up in the cold” because it built up his character as an individual and Soldier. Not only did gunnery build the grit and resilience of Bandit troopers, but it also reinforced the “deploy and fight now mentality” that is first on the 1st BCT commander’s list of expectations for the Bastogne brigade.

“Anything can happen in combat and gunnery allowed [my] whole crew to move and execute using live rounds, giving everyone a good grasp of what their job is within the truck,” said Spc. Joseph Levato, a B Troop MK19 gunner.

The Bandits recognized the importance of growing as teammates within their crews during gunnery in order to maximize their performance and lethality.

“[Gunnery] helped me develop by giving me a hands on situation for engaging targets while working as a [mounted] team [member], unlike regular ranges that usually focus on individual performance,” said Pfc. Louis Dekany, an A Troop gunner. “It develops everyone’s roles within the team.”

The teamwork of the crews led them to succeed in the competition for the coveted title of “Top Gun,” awarded to the highest-performing crew for each weapon system at gunnery.

Winning crews included Sgt. David Kelly, Spc. Brando Cervantes, and Pvt. James Osburn for the TOW system; Sgt. 1st Class Eric Harder, Sgt. Ayrton Leiser, and Pvt. Brandon Beecher for the MK19; Sgt. Seth Jarrell, Spc. Jonathan Passman, and Pfc. Nickalas Woody for machine gun; and Lt. Col. Adisa King, Spc. Zackery Khan, and Spc. Austin Heiser for the Commander’s Cup on the mine-resistant ambush-protected, all-terrain vehicle. The competition sparked crews to work harder and outperform each other.

Staff Sergeant Anthony Renza, a senior scout in B Troop, said his favorite part of gunnery was “being in the running for Top Gun and seeing [his] crew come alive with motivation and drive to succeed.”

Notably, D Troop successfully qualified nine crews, which is the highest number of qualified crews in any forward support company in Bastogne. D Troop now holds the only qualified crew of food service specialists. This shows the unit’s focus on ensuring every trooper is trained and ready for combat, no matter their military occupational specialty.

The troopers of 1st Squadron developed their fundamental motorized crew skills, contributed to 1-32nd CAV’s readiness, and displayed their proficiency and lethality during gunnery training. The Bandits will continue to train to ensure they have the most lethal crews in the brigade and are ready to fight and conduct reconnaissance whenever called, in any conditions.